The Evolution Of Expression Forms Of Housing Constructions In Ancient Chinese Landscape Paintings

On the basis of Chinese landscape paintings from Sui dynasty to Qing dynasty, this paper principally studies the expression forms of housing constructions in those paintings by means of collecting and summarizing relative information of painting theory, architecture theory and architecture history as well as some painting albums.Using the research methods of classification and induction, this paper has summarized and analyzed the manifestations of house buildings in ancient Chinese landscape paintings with the purposes of exploring the drawing skills and the evolution of expression forms and identifying the types and features as well as functions of the housing constructions of those ancient landscape paintings, which can be helpful to further expound the changes and evolution rules of the formal language in the housing constructions of Chinese ancient landscape paintings.This paper is divided into three parts—the introduction, the main body and the conclusion. The introduction mainly discusses the research content, research trends at home and abroad as well as the meanings, purposes and methods of the research. The second part is the main body of this paper, which can be further divided into three chapters. The first chapter primarily sums up the expression forms of the housing constructions in the arts and crafts, mural paintings and lacquer paintings and other art forms before the period of Wei, Jin, and the Northern and Southern dynasties and generalizes the evolution of forms expressions of the housing constructions before ancient Chinese landscape painting became an independent artistic form. And the second chapter specifies the characteristics of expression forms of housing constructions in the ancient landscape paintings in every dynasty from the perspectives of painting skills and themes manifested in those paintings. And the third chapter deeply analyzes the evolution rules of the expression forms of the housing constructions in Chinese landscape paintings from the aspect of fine arts. The last part is the conclusion which summarizes the contents and the findings as well as the development in the later period of this paper.